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Od „góry z metalu” po „górę z lasu”. Kontrasty krajobrazowe Śląska

100%
Heska-Kwaśniewicz K.
Góry, Literatura, Kultura
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2014
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vol. 8
105 - 115
EN
The article focuses on the perception of Upper Silesia in the inter-war period, when it was seen as a geographical region comprising contrasting landscapes: mountains with all their attributes and land degraded by heavy industry. The author carries out a detailed analysis of two texts. One is a poem by Julian Przyboś, an exponent of the avant-garde, entitled The King. Vistula-Foundry, and the other — the chapter The symbolism of landscape from an essay by the parish priest of the Church of the Blessed Virgin Mary in Katowice, Rev. Emil Szramek, entitled Silesia as a Sociological Problem. The poetry and the essay bring about a clash of strongly contrasting landscapes, achieving a surprising aesthetic effect, and discover a new cognitive quality.
2
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Między Górkami Wielkimi a Skoczowem. Dlaczego Morcinek nazywał Zofię Kossak „matką chrzestną”?

100%
Heska-Kwaśniewicz K.
Bibliotheca Nostra. Śląski Kwartalnik Naukowy
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2021
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issue 2(62)
10-27
EN
The article discusses the relationship between the writers Zofia Kossak and Gustaw Morcinek and their mutual influence. The essential elements of their relationship were reconstructed based on source materials and literature. Thanks to Zofia Kossak, Morcinek believed in his creative possibilities and developed his talent. On the other hand, Zofia Kossak owes Morcinek a deeper understanding of Silesia and its history, her fascination with the landscape, and the history of Silesia.
XX
W artykule omówiono relacje między pisarzami Zofią Kossak i Gustawem Morcinkiem. Na podstawie materiałów źródłowych i literatury przedstawiono najważniejsze elementy łączącej ich więzi oraz wzajemnych wpływów ich twórczości. Dzięki Zofii Kossak Morcinek uwierzył w swoje możliwości twórcze i rozwinął swój talent. Zofia Kossak natomiast zawdzięcza Morcinkowi głębsze rozumienie Śląska i jego dziejów, fascynacje pejzażem i mieszkańcami ziemi śląskiej.
3

„Góry to naisto najszlachetniejsze dzieło Boże”. O Złotej wolności Zofii Kossak

100%
Heska-Kwaśniewicz K.
Góry, Literatura, Kultura
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2018
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vol. 12
321-334
EN
Zofia Kossak, author of excellent historical novels, outstanding books for young readers and many other fine literary works, liked to describe landscapes, with the mountains being her favourite landscapes. She sensed their sacred dimension, as it were, and symbolic meanings. She “read” them as cultural texts and described their colours, scents and sounds with a large dose of sensuality, which made her descriptions dynamic. As a result, they still seem to be moving and the people included in them always travel across space and inside their inner selves. Space is described in a sensual manner true to reality, because the writer knew it from experience; enchantment but also realism can be found in all descriptions and plots — constructed in a way that would make it possible to show this space as much as possible, at various times of day and year. This is precisely the case of Złota wolność (Golden Liberty), a novel about the 17th century, the action of which takes place in the regions of Nowy Sącz, the Island Beskids and the Pieniny. The protagonists of the novel, Sebastian and Piotr Pielsz, brothers from Czarny Potok, are Polish Brethren, fighting for the affection of one girl, Hanka, whose heart is won by the younger brother, Piotr, a brave Winged Hussar who fought under Chodkiewicz at the Battle of Kircholm. All this is happening against the background of lush highland nature described with admiration, at various times of the year.
4

„…treść ojczystej ziemi”. Zofia Kossak jako malarka krajobrazów

100%
Heska-Kwaśniewicz K.
Góry, Literatura, Kultura
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2012
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vol. 6
95-111
EN
Zofia Kossak is seen mainly as a woman with a heroic biography, an author of excellent historical novels, books for young readers and passionate journalistic articles. What is neglected, however, is another aspect of her work: landscape as one of the major motifs in her prose, regardless of its genology. This is a kind of landscape painting, varied, using a broad palette of colours, changing, dynamic and, at the same time, reflective. Zofia Kossak was very fond of the mountains; this was one of her privileged landscapes — she had an excellent sense of its extraordinary nature and degree of sacredness. Whenever she described them, she would draw on their “spiritual and real values.” Her accounts also reveal the experience of a woman communing with the mountains, very familiar with them, a woman who is no stranger to the difficulties of treks and the joy of ascent. She walked through the Tatras, the Pieniny Range and the Beskids; she basically knew the entire Karkonosze Mountains and noticed the specific nature of the various ranges. Her protagonists are people rooted in the space surrounding them, the space that gives them the strength to carry on: being rooted in it as well as a sense of community mean that they never feel homeless, because this is a “tamed” space. For the writer and her protagonists the mountains are such a place.
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